Donlyn lyndon biography templates
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[1]Henry-Russell Hitchcock, “Food for Changing Sensibility,” Perspecta 6,
[2]Much of the information gathered for this paper was from an interview with Robert A.M. Stern in his Manhattan office in June Also see recent publication, Robert A.M. Stern and Jimmy Stamp, Pedagogy and Place: Years of Architecture Education at Yale (New Haven: Yale University Press, ),
[3]Robert A.M. Stern, Peggy Deamer, and Alan Plattus, eds. Rereading Perspecta: the First Fifty Years of the Yale Architectural Journal (Cambridge, M.A.: MIT Press, ), xvi.
[4]Norman Carver, email correspondence with author, February 11,
[5]Kate Nesbitt, ed., Theorizing a New Agenda for Architecture. An Anthology of Architectural Theory – , (Cambridge, M.A.: MIT Press), For a discussion of the White/Grey Debate, see “White and Gray,” a + u: Architecture and Urbanism, 4 (52) (): ; and in this periodical, Emanuela Giudice, “The Architecture Between ‘Whites’ and &
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Charles Moore—architect, author, academic powerhouse—was born, perhaps fittingly, on Halloween in Moore was one of the first to receive a Ph.D. in architecture from Princeton, where he taught with Louis Kahn and became great friends with Robert Venturi and Denise Scott Brown. He co-wrote perhaps the best book on homes ever published, The Place of Houses, with Donlyn Lyndon and Gerald Allen, and changed the perception of architecture bygd co-authoring the book Body, Memory, and Architecture with the New Haven architect Kent Bloomer and Buzz Yudell (with whom he later created the California-based firm Moore Ruble Yudell).
Moore taught, and was occasionally dean, at numerous schools of architecture, including UCLA, Berkeley, University of Texas, and Yale. Over fyra decades of practice he created or partnered in almost a dozen firms across the U.S. His range and building prowess were extraordinary: among his notable residential designs are California’s Sea Ranch, in (with Lyndon, Al
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This collaboration between two distinguished architects and former colleagues is a celebration of admired places and a thoughtful consideration of the role that design has played in giving these places their memorable qualities. It is also an invitation to readers to inhabit the chambers of the book with their own imaginations, to join in the making of the "Memory Palace" proposed. The authors' informal and anecdotal style extends to the illustrations - the freehand travel sketches, line drawings, and water-colours of places they have remembered and enjoyed. The text consists of an exchange of letters in which one author recalls and the other responds to the elements considered essential to the art of successful place-making. Each of the book's chapters forms a chamber, and each chamber is inscribed with personal observations on the composition of places and the architectural elements central to each building, garden, court, monument, or open space described. The examples considered